So when a passenger from the same plane disappears into the crowds of Manhattan, it’s up to Fisk and his partner Krina Gersten to find him before the celebrations begin... And time is running out.

    In 1967, the Gemsbok, a Viscount airliner of South African Airways disappears in exactly the same place. To some it is merely an uncanny mystery. To others a tragedy. People like Ian Fairlie, captain of the weather ship Walvis Bay--whose father was the pilot of the Gemsbok and whose grandfather was the first officer of the Waratah.Ian Fairlie has sworn that he will resolve the mystery. But to do so, he must face cyclonic winds and mountainous seas, risking his ship, his life and the woman he loves..."Geoffrey Jenkins can write with a rare compelling fervour." Times Literary Supplement

    For their heroism, they were chosen to head up the newly formed Special Cases Unit. Now the duo tackles out-of-the-ordinary cases, anything deemed unusual or bizarre even by Hollyweird standards.When a teenager is found crucified in a city park, Gideon and Sirius are handed the bizarre case. Confronting the gruesome tableau and having to work the case worsens Detective Gideon’s PTSD, a condition he has tried to hide from others. Gideon’s burns may have healed, but the fire haunts him still...in more ways than one.Eerily prescient since that terrible night of the fire, Gideon has unusual insights into the crimes he investigates, a skill he and Sirius must learn to trust as much as they do each other if they are to solve—and survive—this case.

    Jacob is not a businessman…he is a hired assassin…and his job is to neutralize problems deemed unacceptable by the corporation. Jacob is not like other employees, nor is he like other people. Suffering from Cotard's syndrome-a real condition that causes people to believe they are dead-Jacob perceives himself as nothing but a Shell with no emotion and no sense of right or wrong. Emily Buchanan is a bright young second-year associate for DBG, and she has disappeared without a trace. Suspecting she may have stolen valuable information and a fortune from the company, Miss Holquist-Jacob's handler at DBG-assigns him the task of tracking her down and neutralizing her. Jacob's condition allows him to carry out assignments with ruthless, logical precision-devoid of guilt, fear, or dishonor. But as his new assignment draws him inside a labyrinthine network of dark dealings, Jacob finds himself up against something he is completely incapable of understanding. Spark is an ingenious and chilling vision of modern-day humanity under constant, invasive surveillance and a pulse-pounding game of cat and mouse.

    Red dress, black hair, body like a knife. He takes her back to his room and wakes the next morning in a bathtub full of blood and ice, missing a kidney.Dragging himself from a hospital bed, Phineas discovers he wants to be with Jude like a hunger -- and he wants to find her and kill her. Falling for her is the start of a twisted love story that takes him from the snowy streets of Denver to the high plains of Texas where the boundaries between torturer and victim, killer and accomplice, become nightmarishly distorted.

    Falling into a downward spiral of prostitution, drugs and drink, she is picked up by a journalist who has discovered that it was a bomb that caused the crash. And it is his murder that pulls her out of herself.The Rhythm Section is not a thriller about the hunt for a terrorist, although that is the path Stephanie takes, and it’s not a story about revenge, although justice for her family is her initial motivation. Rather, The Rhythm Section is the story of Stephanie’s attempt to reclaim herself. She has to rediscover who she is through a series of roles that she is forced to play; she is never herself. As a prostitute, she is Lisa, the chemical blonde. Later, she is Petra Reuter, German anarchist turned mercenary terrorist. Sometimes, she is Marina Gaudenzi, a Swiss businesswoman, or she’s Susan Branch, an American student, or Elizabeth Shepherd, an English management consultant.But whoever she is, she’s never herself because her life depends on her being someone else. This is the way she is trained by the intelligence service that recruits her, but it’s also the way she’s taught herself to be; being someone else has always worked for her and so it does now, until she begins to fall in love for the first time with Frank White. This undermines her completely and poses new questions: which of the many people she has become is the one to have fallen in love? Stephanie? Petra? Or one of the others? With whom has Frank fallen in love? Marina? Or the real Stephanie? More than anything, The Rhythm Section is about a catastrophic crisis of identity.